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1.
Visual arts
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The visual arts are art forms such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, filmmaking, literature, and architecture. Many artistic disciplines involve aspects of the arts as well as arts of other types. Also included within the arts are the applied arts such as industrial design, graphic design, fashion design, interior design. Current usage of the visual arts includes fine art as well as the applied, decorative arts and crafts. The distinction was emphasized by artists of the Arts and Crafts Movement, Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts. The increasing tendency to painting, and to a lesser degree sculpture. The Western hierarchy of genres reflected similar attitudes, training in the visual arts has generally been through variations of the apprentice and workshop systems. Visual arts have now become a subject in most education systems. Drawing is a means of making an image, using any of a variety of tools. Digital tools that simulate the effects of these are also used, the main techniques used in drawing are, line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a draftsman or draughtsman, drawing goes back at least 16,000 years to Paleolithic cave representations of animals such as those at Lascaux in France and Altamira in Spain. In ancient Egypt, ink drawings on papyrus, often depicting people, were used as models for painting or sculpture, drawings on Greek vases, initially geometric, later developed to the human form with black-figure pottery during the 7th century BC. Painting taken literally is the practice of applying pigment suspended in a carrier, like drawing, painting has its documented origins in caves and on rock faces. The finest examples, believed by some to be 32,000 years old, are in the Chauvet, in shades of red, brown, yellow and black, the paintings on the walls and ceilings are of bison, cattle, horses and deer. Paintings of human figures can be found in the tombs of ancient Egypt, in the great temple of Ramses II, Nefertari, his queen, is depicted being led by Isis. The Greeks contributed to painting but much of their work has been lost, one of the best remaining representations are the hellenistic Fayum mummy portraits. Another example is mosaic of the Battle of Issus at Pompeii, Greek and Roman art contributed to Byzantine art in the 4th century BC, which initiated a tradition in icon painting. Apart from the manuscripts produced by monks during the Middle Ages

2.
Work of art
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A work of art, artwork, art piece, piece of art or art object is an aesthetic physical item or artistic creation. The term objet dart is reserved to describe works of art that are not paintings, prints, drawings or large or medium-sized sculptures, the term oeuvre is used to describe the complete body of work completed by an artist throughout a career. A work of art in the arts is a physical two- or three- dimensional object that is professionally determined or otherwise considered to fulfill a primarily independent aesthetic function. A singular art object is seen in the context of a larger art movement or artistic era, such as. It can also be seen as an item within a body of work or oeuvre. The term is used by, museum and cultural heritage curators, the interested public, the art patron-private art collector community. Physical objects that document immaterial or conceptual art works, but do not conform to artistic conventions can be redefined and reclassified as art objects, some Dada and Neo-Dada conceptual and readymade works have received later inclusion. Also, some architectural renderings and models of projects, such as by Vitruvius, Leonardo da Vinci, Frank Lloyd Wright. Legal definitions of work of art are used in copyright law, Marcel Duchamp critiqued the idea that the work of art should be a unique product of an artists labour, representational of their technical skill or artistic caprice. Artist Michael Craig-Martin, creator of An Oak Tree, said of his work - Its not a symbol, I have changed the physical substance of the glass of water into that of an oak tree. The actual oak tree is present, but in the form of a glass of water. Some art theorists and writers have made a distinction between the physical qualities of an art object and its identity-status as an artwork. For example, a painting by Rembrandt has an existence as an oil painting on canvas that is separate from its identity as a masterpiece work of art or the artists magnum opus. Many works of art are initially denied museum quality or artistic merit, works by the Impressionists and non-representational abstract artists are examples. Some, such as the Readymades of Marcel Duchamp including his infamous urinal Fountain, are reproduced as museum quality replicas. Contemporary and archeological indigenous art, industrial design items in limited or mass production, the term has been consistently available for debate, reconsideration, and redefinition. The classic philosophical enquiry into what a work of art is

3.
Altered book
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An altered book is a form of mixed media artwork that changes a book from its original form into a different form, altering its appearance and/or meaning. An altered book artist takes a book and cuts, tears, glues, burns, folds, paints, adds to, collages, rebinds, gold-leafs, creates pop-ups, rubber-stamps, drills, bolts, and/or be-ribbons it. The artist may add pockets and niches to hold tags, rocks, ephemera, some change the shape of the book, or use multiple books in the creation of the finished piece of art. Altered books may be as simple as adding a drawing or text to a page, antique or Victorian art is frequently used, probably because it is easier to avoid copyright issues. Altered books are shown and sold in art galleries and on the Internet, an exhibition of altered books by contemporary artists was shown at the Bellevue Arts Museum in 2009, titled The Book Borrowers. It contained 31 works, books transformed into sculptural works, the John Michael Kohler Arts Center will host an exhibition of altered books in early 2010. Recycling old books and using them as art journals has also become popular with some art bloggers and proponents of upcycling

4.
Aquascaping
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Aquascaping is the craft of arranging aquatic plants, as well as rocks, stones, cavework, or driftwood, in an aesthetically pleasing manner within an aquarium—in effect, gardening under water. Aquascape designs include a number of styles, including the garden-like Dutch style. Typically, an aquascape houses fish as well as plants, although it is possible to create an aquascape with plants only, or with rockwork or other hardscape and no plants. Although the primary aim of aquascaping is to create an artful underwater landscape, many factors must be balanced in the closed system of an aquarium tank to ensure the success of an aquascape. These factors include filtration, maintaining carbon dioxide at levels sufficient to support photosynthesis underwater, substrate and fertilization, lighting, aquascape hobbyists trade plants, conduct contests, and share photographs and information via the Internet. The United States-based Aquatic Gardeners Association has about 1,200 members, the Dutch aquarium employs a lush arrangement in which multiple types of plants having diverse leaf colors, sizes, and textures are displayed much as terrestrial plants are shown in a flower garden. This style was developed in the Netherlands starting in the 1930s and it emphasizes plants located on terraces of different heights, and frequently omits rocks and driftwood. Linear rows of plants running left-to-right are referred to as Dutch streets, more than 80% of the aquarium floor is covered with plants, and little or no substrate is left visible. Tall growing plants that cover the back glass originally served the purpose of hiding bulky equipment behind the tank, a contrasting approach is the nature aquarium or Japanese style, introduced in the 1990s by Takashi Amano. Amanos three-volume series, Nature Aquarium World, sparked a wave of interest in aquarium gardening, the objective is to evoke a terrestrial landscape in miniature, rather than a colorful garden. This style draws particularly from the Japanese aesthetic concepts of Wabi-sabi, colors are more limited than in the Dutch style, and the hardscape is not completely covered. The Iwagumi style is a subtype of the nature style. The Iwagumi term itself comes from the Japanese rock formation and refers to a layout where stones play a leading role, in the Iwagumi style, each stone has a name and a specific role. The location of the point of the display, determined largely by the asymmetric placement of the Oyaishi, is considered important. Some hobbyists also refer to a style, separate from either the Dutch or nature styles. The plants are left to assume a natural, untrimmed look, jungle style aquascapes usually have little or no visible hardscape material, as well as limited open space. Bold, coarser leaf shapes, such as Echinodorus bleheri, are used to provide a wild, unlike nature syle, the jungle style does not follow clean lines, or employ fine textures. A jungle canopy effect can be obtained using combinations of substrates, tall plants growing up to the surface

5.
Artes Mechanicae
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Artes Mechanicae, or mechanical arts, are a medieval concept of ordered practices or skills, often juxtaposed to the traditional seven liberal arts Artes liberales. Also called servile and vulgar, from antiquity they had been deemed unbecoming for a free man, hughs treatment somewhat elevates the mechanical arts as ordained to the improvement of humanity, a promotion which was to represent a growing trend among late medievals. The classification of the Artes Mechanicae as applied geometry was introduced to Western Europe by Dominicus Gundissalinus under the influence of his readings in Arabic scholarship, in the 19th century mechanic arts referred to fields of which some are now known as engineering. The mechanic arts were also considered practical fields for those that did not come from good families, related phrases, useful arts, or applied arts probably encompass the mechanic arts as well as craftsmanship in general. The most famous usage of the mechanic arts is in the Morrill Land-Grant Colleges Act. Artes liberales Medieval technology Walton, S. A, an Introduction to the Mechanical Arts in the Middle Ages, AVISTA, University of Toronto,2003

6.
Artistamp
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The term artistamp or artists stamp refers to a postage stamp-like art form used to depict or commemorate any subject its creator chooses. Artistamp creators often include their work on legitimate mail, alongside valid postage stamps, in many countries this practice is legal, provided the artistamp is not passed off as or likely to be mistaken for a genuine postage stamp. When so combined the artistamp may be considered part of the art genre. Irony, satire, humor, eroticism and subversion of governmental authority are frequent characteristics of artistamps, other practitioners are content to depict more homey subjects like kittens and family members. Some artists use the form to create fantasy stamps for their own postal administrations or countries – in many cases thereby developing or complementing an imaginary governmental system, the first artist to produce an artist’s stamp is open to interpretation. Fine artists were commissioned to create poster stamps from the late 1800s. In 1919, Dadaist Raoul Hausmann affixed a self-portrait postage stamp to a postcard, german artist Karl Schwesig, while a political prisoner during World War II, drew a series of pseudo-stamps on the blank, perforated margins of postage stamp sheets, using coloured inks. Jas Felter asserts that this 1941 series, which illustrated life in a camp, is typically accepted as the first true set of artists stamps. Canadian multimedia artist and philatelist T Michael Bidner, who made his lifes work the cataloguing of all then-known artists stamps and it quickly became the term of choice amongst mail artists. Artist Clifford Harper published a series of designs for anarchist postage stamps in 1988, featuring portraits of Percy Bysshe Shelley, Emma Goldman, Oscar Wilde, Emiliano Zapata and Herbert Read. In 1999, Gahlinger-Beaune and Bianchini released a CD entitled The World of Artistamps and this collection, which toured Europe and America for the next ten years, led to an explosion in the number of artists using stamps as an artistic format. Photographer and multimedia artist Ginny Lloyd started her Gina Lotta Post series in 1979, on a visit to Artpool in 1982, she collaborated with György Galántai on artistamp issues. In 1984, Lloyd co-organized an Art in Space event in San Francisco at which a rocket containing artistamps on a microchip was launched, in 1986, the artist received a Visual Studies Workshop artist-in-residence funded in part by the National Endowment for the Arts in the United States. Her project for the residency culminated with Gina Lotta Post, a series of artistamps bound into a book, a second book Make Your Own Stamps Sheet, is a Complete and Return project that originated from the same residency, becoming available in 2011. In 1989, Felter curated the first of three International Biannual Exhibitions of Artistamps at Davidson Galleries in Seattle, in 1994, an exhibition sponsored by the Swiss Posts was held in the PTT-Museum in Berne, resulting in the publication of a book and four sheets of artists stamps. The word Artistamps does not appear in the book, but on one of the stamps, in 1995, Patricia Tavenner curated The First California Artistamp Exhibit at University of California, Berkeley - San Francisco Extension. The exhibit presented works of about 170 artists from around the world, in 1995 Guy Bleus organized the traveling exhibition The Artistamp Collection in the ‘Provinciaal Museum’ in Hasselt, and in the ‘Poorthuis’ in Genk, Belgium. The documentation was the very first artistamp catalogue on CD-ROM, the First Moscow International Artistamp Exhibition was held in Moscow in December 1998, as part of International Art Fair XX

7.
Assemblage (art)
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Assemblage is an artistic form or medium usually created on a defined substrate that consists of three-dimensional elements projecting out of or from the substrate. It is similar to collage, a two-dimensional medium and it is part of the visual arts, and it typically uses found objects, but is not limited to these materials. The origin of the art form dates to the cubist constructions of Pablo Picasso c, the origin of the word can be traced back to the early 1950s, when Jean Dubuffet created a series of collages of butterfly wings, which he titled assemblages dempreintes. However, both Marcel Duchamp, Pablo Picasso and others had been working with found objects for many years prior to Dubuffet, Russian artist Vladimir Tatlin created his counter-reliefs in the mid 1910s. Alongside Tatlin, the earliest woman artist to try her hand at assemblage was Elsa von Freytag-Loringhoven, in Paris in the 1920s Alexander Calder, Jose De Creeft, Picasso and others began making fully 3-dimensional works from metal scraps, found metal objects and wire. In the U. S. one of the earliest and most prolific assemblage artists was Louise Nevelson, in 1961, the exhibition The Art of Assemblage was featured at the New York Museum of Modern Art. William C Seitz, the curator of the exhibition, described assemblages as being made up of preformed natural or manufactured materials, objects, arman, French artist, sculptor and painter. Hans Bellmer, a German artist known for his life-sized female dolls, wallace Berman, an American artist known for his verifax collages. André Breton, a French artist, regarded as a founder of Surrealism. John Chamberlain, a Chicago artist known for his sculptures of welded pieces of wrecked automobiles, greg Colson, an American artist known for his wall sculptures of stick maps, constructed paintings, solar systems, directionals, and intersections. Many of his boxes, such as the famous Medici Slot Machine boxes, are interactive and are meant to be handled, rosalie Gascoigne, a New Zealand-born Australian sculptor. Raoul Hausmann, an Austrian artist and writer and a key figure in Berlin Dada, his most famous work is the assemblage Der Geist Unserer Zeit - Mechanischer Kopf, Robert H. Hudson, an American artist. Jasper Johns, an American Pop artist, painter, printmaker, jean-Jacques Lebel, in 1994 installed a large assemblage entitled Monument à Félix Guattari in the Forum of the Centre Pompidou. Janice Lowry, American artist known for art in the form of assemblage, artist books, and journals. Ondrej Mares, a Czech-Australian artist and sculptor best known for his Kachina figures - a series of works. Markus Meurer, a German artist, known for his sculptures from found objects Louise Nevelson and she used found objects or everyday discarded things in her “assemblages” or assemblies, one of which was three stories high. Meret Oppenheim, a German-born Swiss artist, identified with the Surrealist movement, wolfgang Paalen, an Austrian-German-Mexican surrealist artist and theorist, founder of the magazine DYN and known for several assembled objects, f. e. Nuage articulé Robert Rauschenberg, painter and collagist known for his mixed media works during six decades, fred H. Roster, an American sculptor

8.
Balloon modelling
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Balloon modelling or balloon twisting is the shaping of special modelling balloons into almost any given shape, often a balloon animal. People who create balloon animals and other twisted balloon sculptures are called Twisters, Balloon Benders, Twisters often perform in restaurants, at birthday parties, fairs and at public and private events or functions. Two of the design styles are single balloon modelling, which restricts itself to the use of one balloon per model, and multiple balloon modelling. Each style has its own set of challenges and skills, depending on the needs of the moment, they might easily move between the one-balloon or multiple approaches, or they might even incorporate additional techniques such as weaving and stuffing. Modelling techniques have evolved to include a range of complex moves. Some twisters inflate their balloons with their own lungs, and for years this was a standard. However, many now use a pump of some sort, whether it is a hand pump, Twisters do not generally fill their creations with helium, as these designs will not usually float anyway. The balloons for twisting are too porous for helium and the designs are too heavy for their size for helium to lift. The origins of balloon modelling are unknown, the 1975 book by Jolly the Clown Petri credits Herman Bonnert from Pennsylvania at a magicians convention in 1939 as being the first balloontwister. Val Andrews, in Manual of Balloon Modeling, Vol.1, An Encyclopedic Series, credits H. J. Bonnert of Scranton, Pennsylvania as being the daddy of them all. Jim Church III states, Frank Zacone from Youngstown, Ohio was doing an act during the 1940s and had been doing the act for some time. Another candidate for first balloon twister is Henry Maar, two essential items are required for balloon twisting, An assortment of balloons, usually in various colors. Balloon sizes are usually identified by a number, the most common size of twisting balloons is called a 260, thus, a 260 is 2×60 inches and a 160 is 1×60 inches when fully blown up. Although these are the most common sizes used, there are dozens of other shapes available as well, the most common methods are air pumps similar to bicycle pumps, electric air compressors, and via the mouth. Inflating a balloon via the mouth is difficult and can be dangerous, basic four-legged animal, Three locking twists. The first forms nose, ears/face, and neck, the second, front legs and body, different proportions can be used to represent a dachshund, a giraffe, etc. Elephant, A hook twist trunk followed by a bean twist face, Monkey Bear Helmet, Three bubble roll through sized to fit a persons head. Sword, Twofold twists form the piece, with one short and one long bubble forming the handle

9.
Bir Hima Rock Petroglyphs and Inscriptions
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Bir Hima is a rock art site in Najran province, in southwest Saudi Arabia, about 200 kilometres north of the city of Najran. An ancient Palaeolithic and Neolithic site, the Bir Hima Complex covers the period of 2500–1000 BC. Bir Hima contains numerous troughs whose type is similar from North Arabia to Yemen, ancient history of human occupation of this habitat is credited to its resources of wild life, water and the lime stone terrain. Saudi Arabias rock art, which has found appreciation in recent years, is considered among the richest in the world along with examples found in Australia, India. The area was explored by the Philby-Ryckmans-Lippen expedition of 1951 and published by E. Anati and it was then noted that the images on the rocks were inscribed with inset into the sandstone formation, dated 300–200 BC. Its rich heritage of rock petroglyphs caught the attention of Saudi Arabia’s Department of Antiquities only after 1976 when Jubba, one of the expedition members investigating this art form found a site west of the ancient wells of Bir Hima where he recorded 250 images. Bir Hima, which is an ancient Palaeolithic and Neolithic site, lies north of Najran, apart from petroglyphs, carving tools used for this art work were also found here, made of such materials as quartzite, andesite and flint. The images appear to have been inscribed with Bronze, the petroglyphs noted, when initially found in the 1950s, consisted of daggers and swords, bows with arrows tipped with transverse arrowheads, sickle swords and throw-sticks. These depictions were interpreted as symbolic of spiritual animism, Bir Hima, as part of Najran, is a treasure trove of petroglyphs, eclipsed only by those found in the Jubba region. Here,100 sites have been identified, in the Najran area, as many as 6,400 human and animal illustrations, which include more than 1,800 camels and 1,300 human depictions, have been recorded. At this important rock art site, apart from depictions of humans, giraffes and other animals, the sixth century inscriptions of Dhu Nuwas, a number of articulated camel fragments were excavated at site 217-44. While its engravings are probably earlier than those of Hunters Palette

10.
Charcoal (art)
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These charcoals are often used by artists for their versatile properties such as the rough texture that leaves marks less permanent than other art media. It can produce lines that are light or intensely black while being easily removable and vulnerable to leave stains on paper. The dry medium can be applied to almost any surface from smooth to a very coarse, fixatives are often used with charcoal drawings to solidify the positions to prevent erasing or rubbing off of charcoal dusts. The method to create artists charcoal is similar to that of charcoal used throughout different types of fields such as producing gunpowder. Therefore the type of material and preparation method allows different variation of charcoal to be produced. There are various types and uses of charcoal as an art medium, but the commonly used types are, Compressed, Vine, Compressed charcoal is shaped into a block or form of a stick. Intensity of the shade is determined by hardiness, the amount of gum or wax binders used during the production process affects the hardiness. Soft hardiness leaves intensely black markings while Hard hardiness leave light markings, Vine charcoal is a long and thin piece of charcoal stick that is the result of burning sticks or vines in a kiln without air. The removable properties of charcoal from dusting and erasing is favored by artists for making preliminary sketches or basic composition. This also makes vine charcoal less suitable for creating detailed images, Charcoal pencils are compressed charcoals that are wrapped with a layer of wood. The design of charcoal pencils are similar to that of graphite pencils while keeping intact with the properties of charcoal, often used for fine and crisp detailed drawings while keeping the users hand from being marked during its use. Other types of artists such as charcoal crayons were developed during the 19th century. Charcoal powders are used to create patterns and pouncing, a method of patterns from one surface to another. There are variation of each types of charcoal that range in shading. Production from different companies varies due to materials that are included such as clay. Paper used with artists charcoal can vary in quality, rough texture may allow more charcoal to adhere to the paper. The use of toned paper allows different possibilities as white oil pastels can be used in combination with charcoal to create contrast and it is a method in which thin, dark lines are continuously placed parallel to each-other. When done with charcoal, it comes out smoother and darker, rubbing is done with a sheet of paper pressed against the targeted surface then rubbing charcoal against the paper

11.
China painting
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China painting, or porcelain painting, is the decoration of glazed porcelain objects such as plates, bowls, vases or statues. The body of the object may be hard-paste porcelain, developed in China in the 7th or 8th century, or soft-paste porcelain, the broader term ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such as maiolica or faience. Typically the body is first fired in a kiln to convert it into a hard porous bisque, underglaze decoration may then be applied, followed by glaze, which is fired so it bonds to the body. The glazed porcelain may then be painted with overglaze decoration and fired again to bond the paint with the glaze, most pieces use only one of underglaze or overglaze painting, the latter often being referred to as enamelled. Decorations may be applied by brush or by stenciling, transfer printing, lithography, Porcelain painting was developed in China and later taken up in Korea and then Japan. Decorated Chinese porcelain from the 9th century has been found in the Middle East, Porcelain for trade with this region often has Islamic motifs. Trade with Europe began in the 16th century, by the early 18th century European manufacturers had discovered how to make porcelain. The Meissen porcelain factory in Saxony was followed by factories in Germany, France, Britain. The decoration of some hand-painted plates and vases from the 19th century resembles oil paintings, in the later part of the 19th century china painting became a respectable hobby for middle-class women in North America and Europe. More recently interest has revived in china painting as an art form. The Chinese define porcelain as a type of pottery that is hard, compact and fine-grained, that cannot be scratched by a knife, and it need not be white or translucent. This porcelain is made of paste that mainly consists of kaolin. The clay is mixed with petuntse, or china stone, the glaze is prepared from petuntse mixed with liquid lime, with less lime in the higher-quality glazes. The lime gives the glaze a hint of green or blue, a brilliant surface, hard-paste porcelain is fired to temperatures of 1,260 to 1,300 °C. Soft-paste porcelain was invented in Europe, soft-paste porcelain made in England from about 1745 used a white-firing clay with the addition of a glassy frit. The frit is a flux that causes the piece to vitrify when it is fired in a kiln, soft-paste porcelain is fired to 1,000 to 1,100 °C. The kiln must be raised to the temperature where the piece will vitrify. Soft-paste porcelain is translucent and can be thinly potted, after firing it has similar appearance and properties to hard-paste porcelain

12.
Conceptual art
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Conceptual art, sometimes simply called conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic and material concerns. Some works of art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions. The notion that art should examine its own nature was already a potent aspect of the art critic Clement Greenbergs vision of Modern art during the 1950s. One of the first and most important things they questioned was the assumption that the role of the artist was to create special kinds of material objects. Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as conceptual with an artists intention. The French artist Marcel Duchamp paved the way for the conceptualists, providing them examples of prototypically conceptual works — the readymades. The artistic tradition does not see an object as art because it is not made by an artist or with any intention of being art. This concept, also called Art esthapériste, derived from the infinitesimals of Gottfried Wilhelm Leibniz - quantities which could not actually exist except conceptually, the current incarnation of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961 the term art, coined by the artist Henry Flynt in his article bearing the term as its title. By the mid-1970s they had produced publications, indices, performances, texts, in 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center. Conceptual art emerged as a movement during the 1960s - in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a process of progressive reduction and those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is, later artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. Lawrence Weiner said, Once you know about a work of mine you own it, theres no way I can climb inside somebodys head and remove it. It is sometimes reduced to a set of written instructions describing a work, Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. This linguistic turn reinforced and legitimized the direction the artists took. Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art, osborne later made the observation that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9,2010. It is a claim made at the level of the ontology of the work of art

13.
Crayola
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Crayola is a brand of artists supplies manufactured by Crayola, LLC and best known for its crayons. The company is based in Forks Township, Northampton County, Pennsylvania, since 1984, Crayola has been a wholly owned subsidiary of Hallmark Cards. All Crayola-branded products are marketed as nontoxic and safe for use by children, most Crayola crayons are made in the United States. The company also produces Silly Putty and a line of professional art products under the Portfolio Series brand, Crayola, LLC claims the Crayola brand has 99% name recognition in U. S. consumer households, and says its products are sold in over 80 countries. The company was founded by cousins Edwin Binney and C, harold Smith in New York City on March 31,1885 as Binney & Smith. Initial products were colorants for industrial use, including red iron oxide used in barn paint and carbon black chemicals used for making tires black. Also in 1900, the company added production of slate school pencils, initially formed as a partnership, Binney & Smith incorporated in 1902. In 1902, Binney & Smith developed and introduced the Staonal marking crayon, then Edwin Binney, working with his wife, Alice Stead Binney, developed his own famous product line of wax crayons beginning on 10 June 1903, which it sold under the brand name Crayola. The Crayola name was coined by Alice Binney, wife of company founder Edwin and it comes from craie, French for chalk, and ola for oleaginous, or oily. The suffix -ola was also popular in use at the time. Crayola introduced its crayons not with one box, but with a product line. By 1905, the line had expanded to offering 18 different-sized crayon boxes with five different-sized crayons, the product line offered crayon boxes containing 6,7,8,12,14,16,18,24,28, or 30 different color crayons. The Rubens Crayola line, started in 1903, was targeted at artists. In April 1904 at the St. Louis Worlds Fair, Binney & Smith won the Gold Medal for their An-Du-Septic dustless chalk. Subsequently, Crayola used the opportunity to develop a new packaging strategy by emphasizing their gold medal on the front of many of their products and crayon boxes. In 1905, the offering of their new No.8 crayon box featured a copy from the side of the medal with an eagle on it. This was changed to the side of the medal with the 1904 date on it in Roman numerals. Binney & Smith purchased the Munsell Color Company crayon product line in 1926 and they retained the Munsell name on products such as “Munsell-Crayola” and “Munsell-Perma” until 1934, and then incorporated their colors into their own Crayola Gold Medal line of boxes

14.
Custom car
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Although the two are related, custom cars are distinct from hot rods. The extent of this difference has been the subject of debate among customizers and rodders for decades, additionally, a street rod can be considered a custom. A development of hot rodding, the change in name corresponded to the change in the design of the cars being modified, the first hot rods were pre-World War II cars, with running boards and simple fenders over the wheels. Early model cars were modified by removing the running boards and either removing the fenders entirely or replacing them with very light cycle fenders, later models usually had fender skirts installed. The firm was started by ex-employees of Howard Dutch Darrin, who had designed, strother MacMinn called the Yankee Doodle Roadster by Coachcraft the “first American custom sports car. Engine swaps were done, the object of which was to put the most powerful engine in the lightest possible frame, initially this involved lowering the rear end as much as possible with the use of lowering blocks on the rear springs. Later cars were given a job either adding a dropped front axle or heating front coil springs to make the front end of the car much lower than the rear. Much later some hot rods and custom cars swapped the old solid rear axle for an independent rear axle, sometimes the grille of one make of car replaced by another, the 1937 Buick grille was often used on a Ford. In the 1950s and 1960s, the swap of choice was the 1953 De Soto. With the change in design to encase the wheels in fenders and to extend the hood to the full width of the car. In addition, there was tremendous automotive advertising and subsequent public interest in the new models in the 1950s. Hence custom cars came into existence, swapping headlamp rings, grilles, bumpers, chrome side strips, and tail lights, as well as frenching and tunnelling head- and taillights. The bodies of the cars were changed by cutting through the metal, removing bits to make the car lower, welding it back together. By this means, chopping made the lower, sectioning made the body thinner from top to bottom. Channeling was cutting notches in the floorpan where the body touches the frame to lower the whole body, fins were often added from other cars, or made up from sheet steel. In the custom car culture, someone who changed the appearance without also substantially improving the performance was looked down upon. More recently, Juxtapoz Magazine, founded by the artist Robert Williams, has covered Kustom Kulture art, Custom cars are distinct from cars in stock condition. Builders may adopt the visual and performance characteristics of some relevant modification styles, there are now several different custom themes, including, Rat rod, imitates the unfinished and amateur-built appearance of hot rods of the 1930s, 1940s, and 1950s Restomod - restored and modernized

15.
Decorative arts
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The decorative arts are arts or crafts concerned with the design and manufacture of beautiful objects that are also functional. It includes interior design, but not usually architecture, the decorative arts are often categorized in opposition to the fine arts, namely, painting, drawing, photography, and large-scale sculpture, which generally have no function other than to be seen. The distinction between the decorative and the arts has essentially arisen from the post-Renaissance art of the West. This distinction is less meaningful when considering the art of other cultures and periods. For example, Islamic art in many periods and places consists entirely of the arts, often using geometric and plant forms. The distinction between decorative and fine arts is not very useful for appreciating Chinese art, and neither is it for understanding Early Medieval art in Europe, large-scale wall-paintings were much less regarded, crudely executed, and rarely mentioned in contemporary sources. They were probably seen as a substitute for mosaic, which for this period must be viewed as a fine art. The term ars sacra is sometimes used for medieval Christian art done in metal, ivory, textiles, illuminated manuscripts have a much higher survival rate, especially in the hands of the church, as there was little value in the materials and they were easy to store. Most European art during the Middle Ages had been produced under a different set of values. The lower status given to works of art in contrast to fine art narrowed with the rise of the Arts and Crafts Movement. This aesthetic movement of the half of the 19th century was born in England and inspired by William Morris. The movement represented the beginning of an appreciation of the decorative arts throughout Europe. Many converts, both professional artists ranks and from among the intellectual class as a whole, helped spread the ideas of the movement. The influence of the Arts and Crafts Movement led to the arts being given a greater appreciation and status in society. Until the enactment of the Copyright Act 1911 only works of art had been protected from unauthorised copying. The 1911 Act extended the definition of a work to include works of artistic craftsmanship

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Digital painting
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Digital painting is a method of creating an art object digitally and/or a technique for making digital art in the computer. As a technique, it refers to a graphics software program that uses a virtual canvas and virtual painting box of brushes, colors. The virtual box contains many instruments that do not exist outside the computer, the specific visual characteristics of a digital painting can be traced back to the software. The option to undo without a trace up to twenty or more brush strokes or other actions, permits a more spontaneous, the choice of program determines the output to have the characteristics of a watercolor, lino cut, screen print, oil painting etc. Thus, digital painting is not so much a new medium as a new appearance of the range of existing mediums. Painting is one of at least five directions that can be distinguished in early art, Computer generated art springs directly from artificial intelligence. The image is the result of a string of zeros and ones, much the same as music notes on a score are not music themselves, video art likewise relies on the manipulation of moving images. Traditional digital painting creates an image in a stroke-by-stroke, brush-in-hand fashion, within the category of computer generated painting, a distinction is made between code-mode, and design-mode. The difference can be clarified with the aid of web page design, a web designer who wants to give a web page a black background, can do so by writing, in a language that the computer can understand, <body bgcolor=#000000>. The earliest digital paintings are made in this method, where the artist writes a code, code-mode painting offered a lot of freedom in style and idiom – though intricate forms were difficult to program. Modern programs used for web design usually offer a design mode alongside a code mode, the advantage of a design mode is that it allows to build web pages without the need of programming. The designer can choose to construct an image and the software will generate the necessary code. Graphics programs used for digital painting take this one step further, the design mode is the only mode. The image is translated into the codes that are needed for viewing, printing etc. without interference of the artist, most of these programs feature a number of ready-made shapes, such as circles, ellipses, squares, and many brush points. While it is not possible for a human hand to create exactly identical shapes, or construct a perfect circle. It is possible to subject shapes to a variety of mathematical operations, programs for fractal art for instance, assist the artist in creating visually complex structures of great mathematical regularity. The creative process in traditional and digital painting is more or less the same, the painting is on the hard disk of a computer. The usual way to make it presentable and salable is to project it on a carrier, such as paper

17.
Encaustic painting
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Encaustic painting, also known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid or paste is applied to a surface—usually prepared wood, though canvas. Pure, powdered pigments can be used, though some mixtures use oil paints or other forms of pigment. Metal tools and special brushes can be used to shape the paint before it cools, today, tools such as heat lamps, heat guns, and other methods of applying heat allow artists to extend the amount of time they have to work with the material. Because wax is used as the pigment binder, encaustics can be sculpted as well as painted, other materials can be encased or collaged into the surface, or layered, using the encaustic medium to stick them to the surface. The word encaustic originates from the Greek word enkaustikos which means to burn in, kut-kut, a lost art of the Philippines, employs sgraffito and encaustic techniques. It was practiced by the tribe of Samar island around 1600 to 1800. Artists in the Mexican muralism movement, such as Diego Rivera, the Belgian artist James Ensor also experimented with encaustic. The wax encaustic painting technique was described by the Roman scholar Pliny the Elder in his Natural History from the 1st Century AD, the oldest surviving encaustic panel paintings are the Romano-Egyptian Fayum mummy portraits from the 1st Century BC. Faiss held two German patents related to the preparation of waxes for encaustic painting, one covered a method for treating beeswax so that its melting point was raised from 60 to 100 °C. This occurred after boiling the wax in a solution of sea water, the resulting harder wax is the same as the Punic wax referred to in ancient Greek writings on encaustic painting. Encaustic art has seen a resurgence in popularity since the 1990s with people using electric irons, hotplates and heated styli on different surfaces including card, paper, the iron makes producing a variety of artistic patterns easier. The medium is not limited to just simple designs, it can be used to create paintings, just as in other media such as oil. Although technically difficult to master, attractions of this medium for artists are its dimensional quality. Artists specializing in encaustic painting include the following, the Mysterious Fayum Portraits, Faces from Ancient Egypt. El Primer Fresco de Jean Charlot, La Masacre en el Templo Mayor, congreso Internacional de Muralismo, San Ildefonso cuna del muralismo mexicano, Reflexiones historiográficas y artísticas. The Artists Handbook of Materials and Techniques, unique Wax Paintings by Immigrant Artist should Endure 10,000 Years. Los Angeles Times, Oct.19,1952 Birgit Hüttemann-Holz, gedichte und Malerei in Enkaustik - poems and encaustic paintings

18.
Film
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A film, also called a movie, motion picture, theatrical film or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession, the process of filmmaking is both an art and an industry. The word cinema, short for cinematography, is used to refer to the industry of films. Films were originally recorded onto plastic film through a photochemical process, the adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the process of production, distribution. Films recorded in a form traditionally included an analogous optical soundtrack. It runs along a portion of the film exclusively reserved for it and is not projected, Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them, Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles to translate the dialog into the language of the viewer, some have criticized the film industrys glorification of violence and its potentially negative treatment of women. The individual images that make up a film are called frames, the perception of motion is due to a psychological effect called phi phenomenon. The name film originates from the fact that film has historically been the medium for recording and displaying motion pictures. Many other terms exist for a motion picture, including picture, picture show, moving picture, photoplay. The most common term in the United States is movie, while in Europe film is preferred. Terms for the field, in general, include the big screen, the screen, the movies, and cinema. In early years, the sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film, scripts, sets, costumes, production, direction, actors, audiences, storyboards, much terminology later used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images, the magic lantern, probably created by Christiaan Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides

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Flannelgraph
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Flannelgraph is a storytelling system that uses a board covered with flannel fabric, usually resting on an easel. It is very similar to Fuzzy Felt, although its use is as a storytelling medium. The flannel board is usually painted to depict a background scene appropriate to the story being told, paper cutouts of characters and objects in the story are then placed on the board, and moved around, as the story unfolds. These cutouts are backed, either with flannel, or with some substance that adheres lightly to the flannel background. Plain, undecorated flannel boards can also be used as an aid during presentations, allowing the speaker to display and remove charts. Flannelgraph has been a medium for telling Bible stories to young Sunday School students in Christian churches. Indeed, it is used as a storytelling method almost exclusively in elementary-level Christian education and this may be attributed, in part, to the fact that flannelgraph is relatively inexpensive, yet provides a more vivid alternative to storytelling without visual illustration. Child Evangelism Fellowship Fuzzy felt Bible story Marsha Elyn Wright

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Found object
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Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled Still Life with Chair Caning. The most famous example is Fountain, a standard urinal purchased from a store and displayed on a pedestal. Found objects derive their identity as art from the designation placed upon them by the artist and this may be indicated by either its anonymous wear and tear or by its recognizability as a consumer icon. The context into which it is placed is also a relevant factor. The idea of dignifying commonplace objects in this way was originally a challenge to the accepted distinction between what was considered art as opposed to not art. In this sense the artist gives the time and a stage to contemplate an object. Appreciation of found objects in this way can prompt philosophical reflection in the observer, there is usually some degree of modification of the found object, although not always to the extent that it cannot be recognized, as is the case with ready-mades. Marcel Duchamp coined the term ready-made in 1915 to describe an object that had been selected. Duchamp assembled Bicycle Wheel in 1913 by attaching a common front wheel and this was not long after his Nude Descending a Staircase was attracting the attention of critics at the International Exhibition of Modern Art. In 1917, Fountain, a urinal signed with the pseudonym R. Mutt, in the same year, Duchamp indicated in a letter to his sister, Suzanne Duchamp, that a female friend was centrally involved in the conception of this work. As he writes, One of my friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture. Irene Gammel argues that the piece is more in line with the aesthetics of Duchamps friend. Research by Rhonda Roland Shearer indicates that Duchamp may have fabricated his found objects, exhaustive research of mundane items like snow shovels and bottle racks in use at the time failed to reveal identical matches. The urinal, upon inspection, is non-functional. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased the original Fountain at J. L. Mott Iron Works. The use of objects was quickly taken up by the Dada movement, being used by Man Ray. A well-known work by Man Ray is Gift, which is an iron with nails sticking out from its flat underside, jose De Creeft began making large-scale assemblages in Paris, such as Picador, made of scrap metal, rubber and other materials. The combination of found objects is a type of ready-made sometimes known as an assemblage

21.
Fresco
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Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco

22.
Garden design
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Garden design is the art and process of designing and creating plans for layout and planting of gardens and landscapes. Garden design may be done by the owner themselves, or by professionals of varying levels of experience. All of these considerations are subject to the limitations of the prescribed budget, a gardens location can have a substantial influence on its design. The soils of the site will affect what types of plant may be grown, as will the gardens climate zone, the locational context of the garden can also influence its design, for example an urban setting may require a different design style to a rural one. Similarly, a coastal location may necessitate a different treatment compared to a sheltered inland site. The quality of a soil can have a significant influence on a gardens design. However soils may be replaced or improved in order to them more suitable. Traditionally, garden soil is improved by amendment, the process of adding beneficial materials to the native subsoil and particularly the topsoil. The added materials, which may consist of compost, peat, sand, mineral dust, or manure, among others, are mixed with the soil to the preferred depth. The amount and type of amendment may depend on many factors, including the amount of existing soil humus, the structure, the soil acidity/alkalinity. One source states that, conditioning the soil thoroughly before planting enables the plants to establish themselves quickly, however, not all gardens are, or should be, amended in this manner, since many plants prefer an impoverished soil. In this case, poor soil is better than a soil that has been artificially enriched. The design of a garden can be affected by the nature of its boundaries, planting can be used to modify an existing boundary line by softening or widening it. Introducing internal boundaries can help divide or break up a garden into smaller areas, the main types of boundary within a garden are hedges, walls and fences. A hedge may be evergreen or deciduous, formal or informal, short or tall, depending on the style of the garden and purpose of the boundary. A wall has a strong foundation beneath it at all points, a fence differs from a wall in that it is anchored only at intervals, and is usually constructed using wood or metal. In temperate western gardens, an expanse of lawn is often considered essential to a garden. However garden designers may use other surfaces, for example those made up of gravel, small pebbles, or wood chips in order to create a different appearance

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Generative art
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Generative art refers to art that in whole or in part has been created with the use of an autonomous system. An autonomous system in context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the system represents their own artistic idea. Generative art is used to refer to algorithmic art. But generative art can also be made using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, tiling, the use of the word generative in the discussion of art has developed over time. The use of Artificial DNA defines an approach to art focused on the construction of a system able to generate unpredictable events. The use of systems, required by some contemporary definitions. This approach is also named emergent, while Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was computer-grafik, Generative art and related terms was in common use by several other early computer artists around this time, including Manfred Mohr. The term Generative Art with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the Generative Art conference in Milan in 1998. The term has also used to describe geometric abstract art where simple elements are repeated, transformed. Thus defined, generative art was practised by the Argentinian artists Eduardo McEntyre, in 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as Hunsy Belmood, in 1972 Neagu gave a lecture titled Generative Art Forms at the Queens University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems, in 1989 Franke referred to generative mathematics as the study of mathematical operations suitable for generating artistic images. From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier music by Terry Riley, Steve Reich. From the end of the 20th century, communities of artists, designers, musicians and theoreticians began to meet. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, in Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centred around the eu-gene mailing list, which began late 1999 and these activities have more recently been joined by the Generator. x conference in Berlin starting in 2005

24.
Gourd art
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Gourd art involves creating works of art using Lagenaria spp. hard-shell gourds as an art medium. Gourd surfaces may be carved, painted, sanded, burned, dyed, typically, a harvested gourd is left to dry over a period of months before the woody surface is suitable for decorating. A wide variety of shapes and sizes yields an array of art pieces, including, ornaments, bowls, sculpture, vases. Artistic styles can range from craft to fine art, perhaps the most prolific and successful gourd artist in the United States is Robert Rivera of New Mexico. The American Gourd Society, headquartered in Kokomo, Indiana, was founded in 1937, the Canadian Gourd Society was formed in 1999 and is located in Kitchener, Ontario. Both are national nonprofit dedicated to the education and instruction of those interested in gourd history, cultivation, painting, crafts. Gourd Art shows and festivals occur in places throughout North America. In recent years, Internet technology has considerably broadened exposure to the art form which in turn has helped generate an increase in the number of participants. In North America, gourd art has been the subject of specialty programs such as The Carol Duvall Show on Home & Garden Television. C. In 2003, gourd artists from the United States, Australia, each artist brought their particular artistic style to a flat 4 ×4 gourd tile which was stitched together to create a quilt. Gourd Art at DMOZ American Gourd Society Canadian Gourd Society

25.
Graphic arts
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A category of fine art, graphic art covers a broad range of visual artistic expression, typically two-dimensional, i. e. produced on a flat surface. Graphic art further includes calligraphy, photography, painting, typography, computer graphics and it also encompasses drawn plans and layouts for interior and architectural designs. Throughout history, technological inventions have shaped the development of graphic art, in 2500 B. C. the Egyptians used graphic symbols to communicate their thoughts in a written form known as hieroglyphics. The Egyptians wrote and illustrated narratives on rolls of papyrus to share the stories, during the Middle Ages, scribes manually copied each individual page of manuscripts to maintain their sacred teachings. The scribes would leave marked sections of the page available for artists to insert drawings, using art alongside the carefully lettered text enhanced the religious reading experience. Johannes Gutenberg invented an improved movable type mechanical device known as the press in 1450. His printing press facilitated the mass-production of text and graphic art and eventually, again during the Renaissance years, graphic art in the form of printing played a major role in the spread of classical learning in Europe. Within these manuscripts, book designers focused heavily on typeface, the invention and popularity of film and television changed graphic art through the additional aspect of motion as advertising agencies attempted to use kinetics to their advantage. The next major change in graphic arts came when the computer was invented in the twentieth century. Powerful computer software enables artists to manipulate images in a faster and simpler way than the skills of board artists prior to the 1990s. With quick calculations, computers easily recolor, scale, rotate, the scientific investigations into legibility has influenced such things as the design of street signs. New York City is in the process of changing out all of its street signs bearing all capital letters for replacement with signs bearing only upper and lower case letters and they estimate that the increased legibility will facilitate way-finding and reduce crashes and injuries significantly. One of the most common career paths for a graphic artist today is web design, with the popularity of the World Wide Web, the demand for web designers is immense. Graphic artists use their creativity with layouts, typography, and logos to market the products or services of the client’s business. In addition to creating graphical designs, graphic artists also need to understand hypertext, web programming, the responsibility for effective communication also falls under the auspices of the graphic designer. ] Crowdsourcing creative work Graphic design Printmaking